Publication date: 07.12.2017
Translation from Polish was financed under the agreement No. 613/P-DUN/2017 from the funds of the Minister of Science and Higher Education for popularisation of science.
Licence:
CC BY-NC-ND
Editorial team
Editor-in-Chief Sławomir Torbus
The Jagiellonian University Young Musicologists Quarterly, Issue 33 (2/2017), English Issues, pp. 4 - 23
https://doi.org/10.4467/23537094KMMUJ.17.020.7849The Jagiellonian University Young Musicologists Quarterly, Issue 33 (2/2017), English Issues, pp. 24 - 42
https://doi.org/10.4467/23537094KMMUJ.17.021.7850The Jagiellonian University Young Musicologists Quarterly, Issue 33 (2/2017), English Issues, pp. 43 - 76
https://doi.org/10.4467/23537094KMMUJ.17.022.7851The Jagiellonian University Young Musicologists Quarterly, Issue 33 (2/2017), English Issues, pp. 77 - 99
https://doi.org/10.4467/23537094KMMUJ.17.023.7852The Jagiellonian University Young Musicologists Quarterly, Issue 33 (2/2017), English Issues, pp. 100 - 123
https://doi.org/10.4467/23537094KMMUJ.17.024.7853Słowa kluczowe: Sacred music, contrafactum, reconstruction, Franciszek Lilius, Wrocław, Requiem, Hieronim Feicht, Congregation of the Mission, Stradomski Choir, 20th-century song, mélodie, Gabriel Fauré, Claude Debussy, Maurice Ravel, Irena Wieniawska, Shakespeare’s sonnets, Paweł Mykietyn, Dmitry Kabalevsky, Igor Stravinsky, relations between text and music, Pierre Schaeffer, typology, sound object, electro-acoustic music